Aristocratic, Popular, Comic, and Supernatural Elements in A Midsummer Night's Dream; Shakespeare

Aristocratic, Popular, Comic, and Supernatural Elements

The particular essay that is to be explored in the following was originally written in the late 19th century by a man named George Brandes. Bearing resemblance to the majority of his other distinguished works, “‘A Midsummer Night’s Dream’—Its Historical Circumstances—Its Aristocratic, Popular, Comic, and Supernatural Elements” was first published in Danish, and soon thereafter translated into various other languages for the rest of society to enjoy. As implied by the title, Brandes discussed various elements of “A Midsummer Night’s Dream” that are to be summarized.

First mentioned by Brandes is the obvious aristocratic distinction in the play. This is most evidently seen in the duo, Theseus and Hippolyta, who are most frequently found in the midst of their ‘train’. This evident distinction can be seen in that the nobles are among their servants, whereas the common folk—Lysander, Helena, etc.—are not. Next, Brandes mentioned the play as having contained popular elements too. One of these is nature, as Brandes illustrates: “The country-bred youth’s whole feeling for and knowledge of nature comes to the surface, permeated with the spirit of poetry”, and that “In none of Shakespeare’s plays are so many species of flowers, fruits, and trees mentioned and characterised.” As the writer indicates, Shakespeare had a deeper feeling for, and understanding of, nature, that hadn’t until this time become entirely evident.

Brandes subsequently comments on, what he felt was, a supernatural sense to Shakespeare’s poetry in “A Midsummer Night’s Dream”. The writer is content that this is the start of an altered form of enhanced poetry, which is later reiterated in “Romeo and Juliet”. The final element touched upon by George Brandes, in his epic essay, is that of comedy. He reflects on it with marvel: “Never before has Shakespeare risen to the sparkling and genial humour with which these excellent simpletons are portrayed.” Brandes is undoubtedly impressed with the way in which Shakespeare expressed humor throughout his play. Another means by which Shakespeare articulated comedy in his play, was through satire, as seen in the lines of Quince in Act I. Brandes found this wittiness to be quite distinct for a work of Shakespeare, but nonetheless commended it on its wonderful influence.

George Brandes closes his critical essay of a few elements of “A Midsummer Night’s Dream” by saying: “Shakespeare is far from regarding love as an expression of human reason” and that “The germs of a whole philosophy of life are latent in the wayward love-scenes of A Midsummer Night’s Dream.” What is latent in “A Midsummer Night’s Dream”, though, is what Brandes considers notable elements: aristocratic, popular, comic, and supernatural. These elements, Brandes implies, highlight the intricate and elaborate qualities of Shakespearean work.

Other posts on A Midsummer Night's Dream:

References to Change in A Midsummer Night's Dream
A World of Difference: Hermia's Life in A Midsummer Night's Dream, Shakespeare
What an Allusion: An Example of Change
Aristocratic, Popular, Comic, and Supernatural Elements in A Midsummer Night's Dream; Shakespeare
A World of Difference: Lysander

A World of Difference: Hermia's Life in A Midsummer Night's Dream, Shakespeare

When we first learn about Hermia, she is an innocent, naïve girl, belonging to a distinguished family. Her father Egeus, however, is tremendously unfair towards her. Hermia has fallen in love with Lysander, and the same is true for the opposite. Unfortunately, Egeus does not particularly favor Lysander, but rather Demetrius instead. This is ironic, for Hermia expresses no desire for Demetrius, whom her father says she must marry. There are alternatives to this option, although each of which would provide no Lysander for her. Hermia’s response to her father’s wishes, is to flee from her residence, with Lysander, to a far-off place where they are able to remain together.

As has been seen through the words of Hermia, remaining at home with her officious father would prove to be only trouble for her and Lysander’s relationship. As Hermia enters the woods with her dear Lysander, there is a sense of excitement in her words. She has high hopes for their future accomplishments together. Before each of them lay down to rest, they exclaim their love for each other, vowing never to stop loving each other until the day they die: “[Hermia] Thy love ne’er alter till thy sweet life end!” (A Midsummer Night’s Dream, II, ii, 67). This particular situation that Hermia finds herself in, is to a great extent, different than what she is accustomed to experiencing.

Hermia found the only route possible in order to remain with her love, Lysander, and she took it; she ran away from home with him. As she enters the woods, she has a sense of high hopes, for she is free at last, and free to marry her love. This is quite different from when she was at home, where she was not allowed to wed her dearest Lysander. Hermia’s life has substantially changed for the better, in her eyes.


Other posts on A Midsummer Night's Dream:

References to Change in A Midsummer Night's Dream
A World of Difference: Hermia's Life in A Midsummer Night's Dream, Shakespeare
What an Allusion: An Example of Change
Aristocratic, Popular, Comic, and Supernatural Elements in A Midsummer Night's Dream; Shakespeare
A World of Difference: Lysander

References to Change in A Midsummer Night's Dream

What an Allusion: An Example of Change

“Run when you will, the story shall be changed: | Apollo flies and Daphne holds the chase,” (A Midsummer Night’s Dream, II, i, 230-31). In this first line, Helena says that by Demetrius running from her is a change of story from the ordinary mythology of the day. In ancient myth, Daphne managed to escape severe physical harm from Apollo. The difference in this is that Helena is right in that it is her that is chasing the man, whereas in the mythology, the man was the one chasing the woman. Shakespeare used this analogy here in order to again touch upon the matter of change. What occurs in this allusion is a change from typical mythological stories. In the first Act, Hermia changes life settings when she decides to abandon her place at home, and leave with Lysander to the woods. Shakespeare focuses much on change throughout this play, and the two lines listed above are just one example of it.


Other posts on A Midsummer Night's Dream:

References to Change in A Midsummer Night's Dream
A World of Difference: Hermia's Life in A Midsummer Night's Dream, Shakespeare
What an Allusion: An Example of Change
Aristocratic, Popular, Comic, and Supernatural Elements in A Midsummer Night's Dream; Shakespeare
A World of Difference: Lysander

A World of Difference

When we first learn about Hermia, she is an innocent, naïve girl, belonging to a distinguished family. Her father Egeus, however, is tremendously unfair towards her. Hermia has fallen in love with Lysander, and the same is true for the opposite. Unfortunately, Egeus does not particularly favor Lysander, but rather Demetrius instead. This is ironic, for Hermia expresses no desire for Demetrius, whom her father says she must marry. There are alternatives to this option, although each of which would provide no Lysander for her. Hermia’s response to her father’s wishes, is to flee from her residence, with Lysander, to a far-off place where they are able to remain together.

As has been seen through the words of Hermia, remaining at home with her officious father would prove to be only trouble for her and Lysander’s relationship. As Hermia enters the woods with her dear Lysander, there is a sense of excitement in her words. She has high hopes for their future accomplishments together. Before each of them lay down to rest, they exclaim their love for each other, vowing never to stop loving each other until the day they die: “[Hermia] Thy love ne’er alter till thy sweet life end!” (A Midsummer Night’s Dream, II, ii, 67). This particular situation that Hermia finds herself in, is to a great extent, different than what she is accustomed to experiencing.

Hermia found the only route possible in order to remain with her love, Lysander, and she took it; she ran away from home with him. As she enters the woods, she has a sense of high hopes, for she is free at last, and free to marry her love. This is quite different from when she was at home, where she was not allowed to wed her dearest Lysander. Hermia’s life has substantially changed for the better, in her eyes.


Other posts on A Midsummer Night's Dream:

References to Change in A Midsummer Night's Dream
A World of Difference: Hermia's Life in A Midsummer Night's Dream, Shakespeare
What an Allusion: An Example of Change
Aristocratic, Popular, Comic, and Supernatural Elements in A Midsummer Night's Dream; Shakespeare
A World of Difference: Lysander

People: Mythical Transformation to Animals

I researched a tribe, or group of people, that are known to follow a religion called Shamanism. These people worship two idols: the Creator (or God); and a mythical character, who acted almost as a prophet for the religion. A belief of this people is a myth (or so the rest of the world thinks) that states that the world was full of people at one time, and that the majority of them were transformed into animals. For this reason, these people feel a close bond with animals because of their shared human ancestry (before the transformation and now). The way that this bond is exhibited is through rituals that the people commonly practice involving the simulation of animal behavior. This is the explanation of the myth believed by the people of Shamanism involving the transformation of people to animals.

Aristocratic, Popular, Comic, and Supernatural Elements

The particular essay that is to be explored in the following was originally written in the late 19th century by a man named George Brandes. Bearing resemblance to the majority of his other distinguished works, “‘A Midsummer Night’s Dream’—Its Historical Circumstances—Its Aristocratic, Popular, Comic, and Supernatural Elements” was first published in Danish, and soon thereafter translated into various other languages for the rest of society to enjoy. As implied by the title, Brandes discussed various elements of “A Midsummer Night’s Dream” that are to be summarized.

First mentioned by Brandes is the obvious aristocratic distinction in the play. This is most evidently seen in the duo, Theseus and Hippolyta, who are most frequently found in the midst of their ‘train’. This evident distinction can be seen in that the nobles are among their servants, whereas the common folk—Lysander, Helena, etc.—are not. Next, Brandes mentioned the play as having contained popular elements too. One of these is nature, as Brandes illustrates: “The country-bred youth’s whole feeling for and knowledge of nature comes to the surface, permeated with the spirit of poetry”, and that “In none of Shakespeare’s plays are so many species of flowers, fruits, and trees mentioned and characterised.” As the writer indicates, Shakespeare had a deeper feeling for, and understanding of, nature, that hadn’t until this time become entirely evident.

Brandes subsequently comments on, what he felt was, a supernatural sense to Shakespeare’s poetry in “A Midsummer Night’s Dream”. The writer is content that this is the start of an altered form of enhanced poetry, which is later reiterated in “Romeo and Juliet”. The final element touched upon by George Brandes, in his epic essay, is that of comedy. He reflects on it with marvel: “Never before has Shakespeare risen to the sparkling and genial humour with which these excellent simpletons are portrayed.” Brandes is undoubtedly impressed with the way in which Shakespeare expressed humor throughout his play. Another means by which Shakespeare articulated comedy in his play, was through satire, as seen in the lines of Quince in Act I. Brandes found this wittiness to be quite distinct for a work of Shakespeare, but nonetheless commended it on its wonderful influence.

George Brandes closes his critical essay of a few elements of “A Midsummer Night’s Dream” by saying: “Shakespeare is far from regarding love as an expression of human reason” and that “The germs of a whole philosophy of life are latent in the wayward love-scenes of A Midsummer Night’s Dream.” What is latent in “A Midsummer Night’s Dream”, though, is what Brandes considers notable elements: aristocratic, popular, comic, and supernatural. These elements, Brandes implies, highlight the intricate and elaborate qualities of Shakespearean work.


Other posts on A Midsummer Night's Dream:

References to Change in A Midsummer Night's Dream
A World of Difference: Hermia's Life in A Midsummer Night's Dream, Shakespeare
What an Allusion: An Example of Change
Aristocratic, Popular, Comic, and Supernatural Elements in A Midsummer Night's Dream; Shakespeare
A World of Difference: Lysander

What an Allusion: An Example of Change

“Run when you will, the story shall be changed: | Apollo flies and Daphne holds the chase,” (A Midsummer Night’s Dream, II, i, 230-31). In this first line, Helena says that by Demetrius running from her is a change of story from the ordinary mythology of the day. In ancient myth, Daphne managed to escape severe physical harm from Apollo. The difference in this is that Helena is right in that it is her that is chasing the man, whereas in the mythology, the man was the one chasing the woman. Shakespeare used this analogy here in order to again touch upon the matter of change. What occurs in this allusion is a change from typical mythological stories. In the first Act, Hermia changes life settings when she decides to abandon her place at home, and leave with Lysander to the woods. Shakespeare focuses much on change throughout this play, and the two lines listed above are just one example of it.


Other posts on A Midsummer Night's Dream:

References to Change in A Midsummer Night's Dream
A World of Difference: Hermia's Life in A Midsummer Night's Dream, Shakespeare
What an Allusion: An Example of Change
Aristocratic, Popular, Comic, and Supernatural Elements in A Midsummer Night's Dream; Shakespeare
A World of Difference: Lysander